Modern Jazz Guitar - Part V | by Tom Lippincott

• exploration of rhythms used in modern jazz, continued from Part 4
• examples of ideas for “breaking out of the clave prison” in 7/4 time in order to achieve freedom and rhythmic variety when soloing and comping in that time signature
• exploration of polyrhythms and odd groupings in 7/4 time, with examples and demonstrations
• discussion of converting songs written in common time signatures into 5/4 and 7/4, with examples of both short and long form for both meters
• chord changes to Ben Monder’s unique arrangement of “All the Things You Are” with performance example
• explanation of true polyrhythms and their uses in metric modulations
• exercises for gaining facility with metric modulations between all different meters in two parts, first tapping out the rhythms, then playing them on the guitar
• examples of applying different metric modulations to single note lines and comping on a one-chord vamp, as well as on a standard chord progression
• suggestions for using the MP3 play-along 5/4 and 7/4 vamps for practice
• advice on playing at fast tempos, with demonstration
• discussion of equipment used by various modern jazz guitarists , including guitars, picks, amplifiers, and effects, with a guided tour of Tom’s pedal board and demonstrations of effective use of each pedal
• list of suggested representative modern jazz recordings by various guitarists and non-guitarists
• backing MP3 play-along tracks used in the video for all examples and etudes, as well as 5/4 and 7/4 practice groove tracks, available for free download at http://www.tomlippincott.com/
• running time: 73 minutes
• includes 6 pages of written examples, exercises, practice tips, and listening lists

Class Content

Modern Jazz Guitar - Part V

Modern Jazz Guitar – Part V

01:13:00

Course Reviews

5

BEST RESOURCE ON THE WEB!! If your a musician looking to expand your vocabulary into the current melodic, rhythmic, and harmonic realms that are being explored by all the modern jazz greats then this is it!!

Thank you Tom for such a comprehensive walk through of all these challenging concepts

As with all of the Modern Jazz Guitar series by Mr. Lippincott these videos are nothing short of spectacular. They are some of the best I have ever seen for explaining modern jazz style. I like that each video is dedicated to specific aspect of music i.e melody, harmony, and rhythm and that each video goes thoroughly in depth as to how modern jazz approaches these elements of music. As for Part V specifically, I found it very informative as how to approach and implement polyrhythms into my playing as well as taking tunes written in common time (for example) and playing them in odd time signatures. I also especially enjoyed the segment about getting a modern jazz tone akin to what a lot of the modern jazz players are using which can be sort of a stepping point towards finding your own sound and effects you like if you’re unsure of which types of effects might get the sound you’re after. All I can say is that I’m very glad I found this series and would recommend these to anyone looking to take a step into the realm of modern jazz guitar.

I now have Part V, also an amazing collection of materials. This is not easy stuff, but I’m assuming you are here because you want to play like Gilad Hekselman and not Creedence Clearwater Revival. Challenging material, but I found out something with this and Part IV; when you emphasize the rhythmic functions of your improvisations, the harmonic and melodic components seem to get much freer!!! I recorded the changes to "Four" (and do NOT say by Miles) on my looper, and went into Tom’s exercises. I found that I was playing harmonic things that I probably never would have thought of because the shifting rhythms were letting "wrong" notes kinda weave in and out of the backing track without clashing like I would have if I had been playing the same lines "inside" the rhythm!!! I still have not been all the way thru Part V, because there is so much new and interesting, that I just get deep into one little thing and can’t go on……that’s the idea, ain’t it?